richg101

Hacks are so 2012.  In 2016 we have an onslaught of stills cameras capable of surpassing the needs of all but the highest end film makers.  Based on Andrews recent article I'd expect the 1080p iq from the new xpro2 to be no exception.

Hacks are so 2012.  In 2016 we have an onslaught of stills cameras capable of surpassing the needs of all but the highest end film makers.  Based on Andrews recent article I'd expect the 1080p iq from the new xpro2 to be no exception.

This would be a good option as well for a cage. 
http://www.ebay.com/itm/DSLR-Video-Camera-Cage-Stabilizer-Rig-with-Wooden-Handle-for-Canon-Nikon-Sony-/272086620613?hash=item3f59a059c5:g:8IkAAOSwYaFWfPrX

wow man.  great to see you;ve started putting the lenses to work!  and also great that you;ve been able to do something with the limited wide options in the current focal length range with the smaller sensor, indoors.  i definitely think the bmpcc is an incredible tool - particularly when used with the 0.58x speed booster.  And once this damn 24mm/2 is ready i think it'll just about fulfil the wide end (even with the bmpcc).  from those stills it definitely looks like aps-c/s35mm rather than a little s16mm sensor.  feels 'proper' so to speak.  
i bet that 1.75 stops of light transmission gain is a godsend with the oval aperture inserts!  
Awaiting the moving images with baited breath!  
 

One of the main problems with attempting uncoating of lenses is that the coatings are usually harder than the glass underneath.  so what can sometimes happen is that you end up going through the coating in one place first then in that area you end up changing the surface flatness and 'quality' while you proceed to uncoat the remainder of the glass.  MC coatings from the era when your lens was made will be very tough and will need a lot of work to take it to bare glass - and in this time you'll almost certainly not be able to ensure every part of the lens face receives the same amount of abrasion/polishing. 
also, becuase of the way the lens is made, you'll need to uncoat elements behind the two focusing elements.  
Going a professional route and having a bare glass face of the same quality of the lens as it currently stands will almost always require tooling (to hold the glass during a regrind/polish of the optical face you want decoated) as well as a grinding/polishing tool that suits the curvature of the lens.  since these are cylinderical lenses the cost goes up even more.  I have a specially made orbital polisher I designed for use on my lathe which works extremely well with spherical lenses but wouldn't work on cylinders.
Personally I think it would be wise to play around with UV filters.  a cheap 95mm uv filter up front and a 67mm filter on the back will promote some additional reflections and boost the flares quite drastically.   also you might find that using moder taking lenses makes the flaring from your isco more obvious since it'll be less masked by the flaring from a vintage taking lens.  

One of the main problems with attempting uncoating of lenses is that the coatings are usually harder than the glass underneath.  so what can sometimes happen is that you end up going through the coating in one place first then in that area you end up changing the surface flatness and 'quality' while you proceed to uncoat the remainder of the glass.  MC coatings from the era when your lens was made will be very tough and will need a lot of work to take it to bare glass - and in this time you'll almost certainly not be able to ensure every part of the lens face receives the same amount of abrasion/polishing. 
also, becuase of the way the lens is made, you'll need to uncoat elements behind the two focusing elements.  
Going a professional route and having a bare glass face of the same quality of the lens as it currently stands will almost always require tooling (to hold the glass during a regrind/polish of the optical face you want decoated) as well as a grinding/polishing tool that suits the curvature of the lens.  since these are cylinderical lenses the cost goes up even more.  I have a specially made orbital polisher I designed for use on my lathe which works extremely well with spherical lenses but wouldn't work on cylinders.
Personally I think it would be wise to play around with UV filters.  a cheap 95mm uv filter up front and a 67mm filter on the back will promote some additional reflections and boost the flares quite drastically.   also you might find that using moder taking lenses makes the flaring from your isco more obvious since it'll be less masked by the flaring from a vintage taking lens.  

One of the main problems with attempting uncoating of lenses is that the coatings are usually harder than the glass underneath.  so what can sometimes happen is that you end up going through the coating in one place first then in that area you end up changing the surface flatness and 'quality' while you proceed to uncoat the remainder of the glass.  MC coatings from the era when your lens was made will be very tough and will need a lot of work to take it to bare glass - and in this time you'll almost certainly not be able to ensure every part of the lens face receives the same amount of abrasion/polishing. 
also, becuase of the way the lens is made, you'll need to uncoat elements behind the two focusing elements.  
Going a professional route and having a bare glass face of the same quality of the lens as it currently stands will almost always require tooling (to hold the glass during a regrind/polish of the optical face you want decoated) as well as a grinding/polishing tool that suits the curvature of the lens.  since these are cylinderical lenses the cost goes up even more.  I have a specially made orbital polisher I designed for use on my lathe which works extremely well with spherical lenses but wouldn't work on cylinders.
Personally I think it would be wise to play around with UV filters.  a cheap 95mm uv filter up front and a 67mm filter on the back will promote some additional reflections and boost the flares quite drastically.   also you might find that using moder taking lenses makes the flaring from your isco more obvious since it'll be less masked by the flaring from a vintage taking lens.  

wow man.  great to see you;ve started putting the lenses to work!  and also great that you;ve been able to do something with the limited wide options in the current focal length range with the smaller sensor, indoors.  i definitely think the bmpcc is an incredible tool - particularly when used with the 0.58x speed booster.  And once this damn 24mm/2 is ready i think it'll just about fulfil the wide end (even with the bmpcc).  from those stills it definitely looks like aps-c/s35mm rather than a little s16mm sensor.  feels 'proper' so to speak.  
i bet that 1.75 stops of light transmission gain is a godsend with the oval aperture inserts!  
Awaiting the moving images with baited breath!  
 

wow man.  great to see you;ve started putting the lenses to work!  and also great that you;ve been able to do something with the limited wide options in the current focal length range with the smaller sensor, indoors.  i definitely think the bmpcc is an incredible tool - particularly when used with the 0.58x speed booster.  And once this damn 24mm/2 is ready i think it'll just about fulfil the wide end (even with the bmpcc).  from those stills it definitely looks like aps-c/s35mm rather than a little s16mm sensor.  feels 'proper' so to speak.  
i bet that 1.75 stops of light transmission gain is a godsend with the oval aperture inserts!  
Awaiting the moving images with baited breath!  
 

would be rather exciting if they decided to offer 10bit prores 422 / LT.  Similar to Leica, they don;t have a professional broadcast / cinema range to protect by crippling this.  Though I wouldn;t be surprised if Sony made it a condition that the sensor can;t be used in such a way.    

Hi!

I'd like to share some tests I've been doing with my brand new sony a7rII. I used quite a lot of lenses in this video, including some anamorphic set ups. I reeeeally like this camera so far.

 
 

I am really pleased to say the video quality of the X Pro 2 is seriously impressive. It's not 4K but it's enormously satisfying, sharp and detailed.
What's great is that now we can finally shoot moving images with Fuji's superb film-like colour science, without having to worry about image quality.
Read the full article

it's pretty irritating they gave it to a guy who goes right ahead and shoots the test in rolling shutter mode showing us exactly what we expected based on our experiences with the bmpcc.  isn;t it a given to use the global mode for a test of a camera who's key selling point over the previous model is the global shutter mode...
I'd have rather seen unscripted footage with lots of movement and a bright sky and lots of shadow so I can decipher whats going on with the global shutter enabled.  Come on BM give the camera to Andrew Reid next time and stop messing around.  

it's pretty irritating they gave it to a guy who goes right ahead and shoots the test in rolling shutter mode showing us exactly what we expected based on our experiences with the bmpcc.  isn;t it a given to use the global mode for a test of a camera who's key selling point over the previous model is the global shutter mode...
I'd have rather seen unscripted footage with lots of movement and a bright sky and lots of shadow so I can decipher whats going on with the global shutter enabled.  Come on BM give the camera to Andrew Reid next time and stop messing around.  

it's pretty irritating they gave it to a guy who goes right ahead and shoots the test in rolling shutter mode showing us exactly what we expected based on our experiences with the bmpcc.  isn;t it a given to use the global mode for a test of a camera who's key selling point over the previous model is the global shutter mode...
I'd have rather seen unscripted footage with lots of movement and a bright sky and lots of shadow so I can decipher whats going on with the global shutter enabled.  Come on BM give the camera to Andrew Reid next time and stop messing around.  

it's pretty irritating they gave it to a guy who goes right ahead and shoots the test in rolling shutter mode showing us exactly what we expected based on our experiences with the bmpcc.  isn;t it a given to use the global mode for a test of a camera who's key selling point over the previous model is the global shutter mode...
I'd have rather seen unscripted footage with lots of movement and a bright sky and lots of shadow so I can decipher whats going on with the global shutter enabled.  Come on BM give the camera to Andrew Reid next time and stop messing around.  

it's pretty irritating they gave it to a guy who goes right ahead and shoots the test in rolling shutter mode showing us exactly what we expected based on our experiences with the bmpcc.  isn;t it a given to use the global mode for a test of a camera who's key selling point over the previous model is the global shutter mode...
I'd have rather seen unscripted footage with lots of movement and a bright sky and lots of shadow so I can decipher whats going on with the global shutter enabled.  Come on BM give the camera to Andrew Reid next time and stop messing around.  

it's pretty irritating they gave it to a guy who goes right ahead and shoots the test in rolling shutter mode showing us exactly what we expected based on our experiences with the bmpcc.  isn;t it a given to use the global mode for a test of a camera who's key selling point over the previous model is the global shutter mode...
I'd have rather seen unscripted footage with lots of movement and a bright sky and lots of shadow so I can decipher whats going on with the global shutter enabled.  Come on BM give the camera to Andrew Reid next time and stop messing around.  

Micro. A short film by Noam Kroll shot on the Micro Cinema Camera.
Info about the shoot in the link below:
http://noamkroll.com/micro-a-short-film-shot-on-the-blackmagic-micro-cinema-camera/
  

The only way Inarritu can 'let you down' is if he owes you something you're entitled to.
He doesn't!

I saw the movie on Friday.  visually one of the best films I have seen.  I'd seen comments from others who said they couldn;t tell the difference between shots, but watching the movie is was very obvious when they were shooting 65mm.  in image quality terms the digital projection of The Revenant smashed Hateful Eight (70mm film projection).  Some of the vistas were incredible.  I felt as far as an entertaining movie - I'm not looking forward to watching it again for it's entertainment value.  I started hoping it would reach the end about 40mins before it actually did.  And the cg on the bear scene was horrific.  not up to the standards required for such a film. 

I saw the movie on Friday.  visually one of the best films I have seen.  I'd seen comments from others who said they couldn;t tell the difference between shots, but watching the movie is was very obvious when they were shooting 65mm.  in image quality terms the digital projection of The Revenant smashed Hateful Eight (70mm film projection).  Some of the vistas were incredible.  I felt as far as an entertaining movie - I'm not looking forward to watching it again for it's entertainment value.  I started hoping it would reach the end about 40mins before it actually did.  And the cg on the bear scene was horrific.  not up to the standards required for such a film. 

even if it only cost £100 to upgrade all their gear to permit broadcast of 4k they wouldn;t bother since it's a lot easier to send out 720p and palm off all the mugs who bought 4k tv's to watch the crap the said broadcasters actually broadcast.  I don;t want to watch commercial television in any resolution, least of all in 4k.  4k footage of staged terrorist attacks to justify going to war.  advertisments for consumer stuff, singing and dancing competitions and soap operas.  vile.  

The Camdiox versions are the best cheap options.  leaf springs on the ef side.  most cheaper units don't have this.  i'd urge you to go a7m2 - the image stabilisation is very good for old lenses.  the image below was shot handheld at 1/8th sec.  i'd have to have been at iso 25600 to get this without the Image stabiliation
 

 
 

even if it only cost £100 to upgrade all their gear to permit broadcast of 4k they wouldn;t bother since it's a lot easier to send out 720p and palm off all the mugs who bought 4k tv's to watch the crap the said broadcasters actually broadcast.  I don;t want to watch commercial television in any resolution, least of all in 4k.  4k footage of staged terrorist attacks to justify going to war.  advertisments for consumer stuff, singing and dancing competitions and soap operas.  vile.